Database: NYs Black Loyalist Refugees

Black Loyalist is a repository of historical data about the African American loyalist refugees who left New York between April and November 1783 and whose names are recorded in the Book of Negroes. In this first stage, the site concentrates on providing biographical and demographic information for the largest cohort, about 1000 people from Norfolk Virginia and surrounding counties.

Working on the principal that enslaved African Americans were not just a faceless, nameless, undifferentiated mass, but individuals with complex life experiences, the site seeks to provide as much biographical data as can be found for the individual people who ran away to join the British during the American Revolution and were evacuated as free people in 1783.

The project emerged from the research of Cassandra Pybus for her book Epic Journeys of Freedom: Runaway Slaves of the American Revolution and Their Global Quest for Liberty.

The site was created by Cassandra Pybus, Kit Candlin and Robin Petterd and funded as a pilot project in 2009 by the Australian Research Council.

Illustration: Certificate of freedom, 1783. Courtesy Nova Scotia Archives and Records Management.

Civil War: Remembering the Seventh Regiment

It was a military movement, but it was also a party, on April 19, 1861 as the men of the Seventh Regiment of the New York State Militia (the name change to National Guard came in 1862) set out for the Civil War.

&#8220New Yorkers cheered and applauded as the Silk Stocking Regiment marched through the city. The line of march was a perfect ovation. Thousands upon thousands lined the sidewalks. It will be remembered as long as any of those who witnessed it live to talk of it, and beyond that it will pass into the recorded history of this fearful struggle,&#8221 the author of the Third Annual Report of the Bureau of Military Statistics of the State of New York remembered in 1866. Read more

Nations First Offical Monument to be Restored

America’s first official monument is being disassembled, cleaned, restored and returned to its pedestal on the Broadway facade of St. Paul’s Chapel where it has presided for 223 years, it was announced by The Rev. Dr. James Cooper, the 17th Rector of the Parish of Trinity Wall Street. The first full restoration of the Montgomery monument will take place onsite and is scheduled for completion later this summer.

“The parish of Trinity Wall Street has been a part of New York City’s and our nation’s history for over three centuries. St. Paul’s and Trinity Church now draw more than 3 million visitors annually. As good stewards of our landmark properties, our obligation is to preserve the best of the past, engage the present and hopefully inform the future,” Dr. Cooper said. “The restoration of America’s first monument, commemorating the heroism of Major General Richard Montgomery in our nation’s struggle for independence, is part of that process. It is also a lively chapter in our own history,” he said.

The marble and limestone Montgomery monument was commissioned by the Continental Congress in Philadelphia in January 1776, as reported in an appreciative treatise by Henry Kent, a former Secretary to the Board of the Metropolitan Museum of Art, writing in a 1929 Trinity publication. The memorial pays tribute to the valor of Major General Richard Montgomery, who died in December 1775 at the age of 37 leading a charge against a larger British force in the Battle of Quebec. The amenable Benjamin Franklin was entrusted to have a monument fashioned in France that would transmit “to future ages, as examples truly worthy of imitation, (General Montgomery’s) patriotism, conduct (and) boldness of enterprise.” For the purpose, Congress allocated “a sum not exceeding three hundred pounds” (comparable to the value of six of the 342 chests of tea dumped into Boston harbor).

Franklin, in Paris, engaged Jean-Jacques Caffieri, a renowned sculptor who worked on Versailles and according to Franklin, “is one of the best artists here.” The completed work was shipped to Le Havre in 1777 in nine “strong” cases in preparation for the risky voyage to America. Caffieri complained about his fee and Franklin, while extolling “the beauty of the marble and the elegant simplicity of the design,” noted that he (Franklin) had “to pay the additional charges of package.”

According to Henry Kent, the pragmatic Franklin took precautions should the French ship become an enemy prize, writing to a connected British business friend, “If (the monument) should fall into the hands of any of your cruisers, I expect you will exert yourself to get it restored to us, because I know the generosity of your temper, which likes to do handsome things, as well as to make returns.”

The monument arrived safely, but not in Philadelphia. It was sent to Edenton, North Carolina, entrusted to Joseph Hewes, a signer of the Declaration of Independence, and considered by many the first Secretary of the Navy. The port of Edenton was one of the few remaining American held custom houses. And there the Montgomery monument lingered.

During this period, Franklin wrote to John Jay, then to Robert Livingston (Montgomery’s brother-in-law) and again in 1786 to John Jay regarding the monument, asking “what is become of it?” He noted that in the opinion of some “republics are noticeably ungrateful…and letting the Monument lie eight years unpacked, if true, seems rather a confirmation of it.”

While Franklin received no replies, unknown to him notice had been taken&#8211perhaps in response to his earlier letter to Livingston&#8211when a member of the New York Congressional delegation offered a resolution, which Congress adopted, for the monument to be sent from North Carolina to New York City. The New York State legislature adopted a similar resolution saying City officials should decide on its exact location. But still the monument did not move.

The leisurely bureaucratic pace seems finally to have been stirred by Mrs. Montgomery from her estate in Rhinebeck enlisting the aid of a prominent jurist and former governor of North Carolina to actually get the monument shipped. Ultimately, the monument was transferred to New York with St. Paul’s being the unanimous site chosen by the City’s Board of Aldermen, and the Trinity vestry agreeing in 1787 on the chapel’s east wall window. The following year, as a side note, the city asked the state to repay the ?171.7 it had spent on erecting the monument.

The monument was installed by Pierre L’Enfant, who subsequently gained fame planning Washington, DC. L’Enfant also created a unique double-sided work of art at the rear, great window of the chapel. It functions as an altarpiece that blocks the view of the unfinished back of the Montgomery monument that could otherwise be seen by worshippers through the chapel window, and which also functions as a frame for the monument when viewed from the exterior. Interestingly, the frame contains post-Independence symbols, including a rising sun with thirteen rays and a bald eagle, draping the pre-Independence memorial.

Finally, in 1818, at Mrs. Montgomery’s further request, the General’s body was shipped from Quebec. The widow, standing on the balcony of her Rhinebeck home overlooking the Hudson, watched the steamer pass by, carrying the General to be re-interred at St Paul’s, the monument becoming a tomb. An imposing funeral was held for General Montgomery with full military honors and choral music on July 8, 1818—43 years after his fatal assault on Quebec.

The baroque and rococo style marble and limestone monument depicts the General’s virtues rather than his physical form. Various trophies symbolize liberty, strength, chivalry and martyrdom, and there are also carvings of a plowshare, a martyr’s palm frond supporting a liberty cap, a Herculean club, an oak branch and a broken sword.

Time, the elements, cement, paint drippings and problems from corrosive agents used in early prior repairs have caused discoloration, cracks and surface deterioration. The full restoration, the first since its installation, will remove the drippings and corrosive agents, make repairs using sympathetic and compatible materials (including a version of 18th century grout), where needed replace missing marble and limestone from the same quarries (with the help of the present head architect of Versailles) and refresh painted areas.

Non-destructive cleaning and compatible repair methods will be employed to reveal and stabilize the original stone while an invisible coating will be applied in select locations to provide protection from the weather and harmful salts from bird droppings.

Glenn Boornazian, president and principal conservator of Integrated Conservation Resources, is undertaking the restoration for Trinity Wall Street.

About Trinity Wall Street

Located at the head of Wall Street, Trinity Church has been part of New York City’s and our nation’s history since its charter in 1697. Today, the organization has grown to include many important areas of focus and is collectively known as Trinity Wall Street. Most importantly, Trinity Wall Street is an Episcopal parish offering daily worship services and faith formation programs at Trinity Church, St. Paul’s Chapel, and online at trinitywallstreet.org. In addition, Trinity Wall Street includes Trinity Grants, providing $80 million in funding to 85 countries since 1972- Trinity Preschool- Trinity Institute, an annual theological conference- an extensive arts program presenting more than
100 concerts each year through Concerts @ One, the Trinity Choir, and the Trinity Choristers- and Trinity Real Estate, which manages the parish’s six million square feet of commercial real estate in lower Manhattan.

About St. Paul’s Chapel

Opened in 1766, St. Paul’s Chapel is Manhattan’s oldest public building in continuous use &#8211 a place where George Washington worshiped and 9/11 recovery workers received round-the-clock care. Part of the Episcopal Parish of Trinity Church, St. Paul’s is a center for worship and the arts, a community of reconciliation, and a place of pilgrimage for all people.

Photo: Montgomery Monument. Courtesy Leah Reddy &#8211 Trinity Wall Street.

JFK Program at Society for Ethical Culture

It’s been fifty years since John F. Kennedy was inaugurated as the nation’s 35th president, yet his specter remains ever present in the American consciousness. In conversation with Bob Herbert, celebrated biographer Robert Dallek examines the trials and tribulations Kennedy faced during his political career—obstacles that are surprisingly resonant to issues facing our current president—including the Cold War, conflict in Southeast Asia, and the resistance he faced in passing domestic policy.

Robert Dallek is the author of An Unfinished Life: John F. Kennedy, 1917-1963 and the new book John F. Kennedy, and is a Pulitzer Prize finalist. Bob Herbert (moderator) is an op-ed columnist for The New York Times. He is the author of Promises Betrayed: Waking Up from the American Dream.

During the New-York Historical Society’s major renovation project (from April 2010 – November 2011) the Bernard and Irene Schwartz Distinguished Speakers Series will be presented at the New York Society for Ethical Culture at 2 West 64th Street at Central Park West.

Date: May 24 2011 6:30 PM
Full Price Ticket (Non-Members): $20.00
Member Cost: $10.00

Tickets for this program are sold through SmartTix. To order online visit www.smarttix.com. To order by phone please call SmartTix at 212-868-4444. The SmartTix Call Center is open 9am-8pm Monday through Friday, 10am-8pm Saturday and 10am-6pm Sunday. For more information on programs:

Please call the N-YHS Public Programs Department at 212-485-9205. Management reserves the right to refuse admission to latecomers.

Times Square Photo Contest Winners

To add to the public’s appreciation of New York’s cityscape, and to encourage photographers to share their visions of America’s greatest city, the New-York Historical Society initiated its Times Square photography contest: an open competition in which anyone could submit views of the architecture, people, billboards and bustle of the gaudiest and most celebrated district in Manhattan.

A panel of distinguished judges—society photographer Mary Hilliard, muralist Richard Haas and Times Square photographer and collector Barney Ingoglia—today announced the three winners of the contest.

All photographs submitted by the contestants may become part of the New-York Historical Society’s permanent collection. The photographs of the 29 semi-finalists, including the top three prize-winners, will also be featured on Flickr.

The winning photographs will be displayed in Times Square, in partnership with the Times Square Alliance and in continuation of both organizations’ public art initiatives.

First prize went to Fallon Chan for “Watching over Broadway,” which shows the back of the statue of George M. Cohan that stands facing Broadway. Taken with a telephoto lens, the photograph pulls in the Broadway sign nearly a block away, along with the crowd of pedestrians, while evoking the history of the Theater District through the figure of Cohan: the playwright, composer, lyricist, actor, singer, dancer and producer once known as “the man who owned Broadway.”

Second prize went to Michael Schmidt for “These Lights Will Inspire You,” the quintessential signage photograph. The foreground captures the speed and excitement of the taxis in the streets, while the background of marquees for Broadway shows leaves no doubt about where the photograph was taken.

Third prize went to Juan Beltran for “The Recruiter,” a mysterious image evoking a moment at the long-standing Times Square Recruitment Center. The composition draws in the viewer with its interplay of direct vision, shadow and mirrored reflections of Times Square street activity.

Photo: Hilton Times Square Hotel, West 42nd St., by Nancy Fred.

Museum Presents The Brooklyn Artists Ball

The Brooklyn Museum will be partnering with Brooklyn artists to celebrate the Brooklyn Artists Ball, on Wednesday evening, April 27, 2011. This new twist on the Museum’s longstanding annual gala will celebrate the creativity and considerable influence of Brooklyn artists. Museum Trustee and arts patron Stephanie Ingrassia will chair the event with Sarah Jessica Parker acting as Honorary Co-Chair. &#8220It is incredibly exciting for the Museum to enlarge in yet another way its already major engagement with the community of artists living and working in Brooklyn. The new direction of the Ball signifies the Museum’s enormous commitment to those artists, past and present, who are a cornerstone of the institution,&#8221 said the Museum’s Director, Arnold Lehman.

The Museum will honor Brooklyn-based artists Fred Tomaselli, Lorna Simpson, and Fred Wilson, as well as retiring Brooklyn Museum Chair, Norman M. Feinberg. Fred Tomaselli is best known for his highly detailed paintings suspended in clear epoxy resin, which he has described as windows into a hallucinatory universe. Tomaselli has exhibited at the world’s foremost galleries and institutions, including in a solo exhibition at the Brooklyn Museum in 2010.

Fred Wilson is an installation artist and a political activist who was chosen as the United States representative for the Venice Biennale in 2003. Wilson has had solo exhibitions around the world, including at The Museum of Contemporary Art, Chicago- the Fine Arts Museum of San Francisco- and The Studio Museum in Harlem. He is also included in the Brooklyn Museum’s permanent collection.

Lorna Simpson’s work portrays images of black women combined with text to express contemporary society’s relationship with race, ethnicity, and sex. Simpson was the first African American woman to be exhibited at the Venice Biennale, had a retrospective at the Whitney Museum of American Art in 2007, and is the subject of an exhibition currently at the Brooklyn Museum’s Elizabeth A Sackler Center for Feminist Art.

The Brooklyn Artist’s Ball will commence at 6 p.m. with a special VIP cocktail reception hosted by Honorary Co-Chair Sarah Jessica Parker in the Great Hall, amid a space-altering, site-specific architectural installation created by Situ Studio, a Brooklyn-based creative practice specializing in design and fabrication. The installation, reOrder: An Architectural Environment reimagines the classically ordered space, transforming the scale of the hall with stretched fabric canopies and integrated furnishings that swell, expand, and augment the profile of the existing monumental columns. Also exhibited in the Great Hall will be a pulsating animated video environment by Brooklyn-based video artist and designer Sean Capone, whose dynamic and mesmerizing large-scale video projections have received critical acclaim for their breathtaking effect.

Following the cocktail reception a sumptuous seated dinner will take place in the Museum’s magnificent Beaux-Art Court. Table environments uniquely designed by Brooklyn-based artists including Aleksander Duravcevic, Valerie Hegarty, Ryan Humphrey, Bo Joseph, Jason Miller, Angel Otero, Duke Riley, Heather Rowe, Shinique Smith, Brian Tolle, Vadis Turner, Sara VanDerBeek and Anya Kielar, and Dustin Yellin will provide guests with an exceptional multi-sensory dining experience.

Tickets to the Brooklyn Artists Ball are available from $500 to $1,500 and tables range from $5,000 to $50,000. Tickets may be purchased online at www.brooklynmuseum.org. For further information on the event or ticket options please call (718) 501-6423 or e-mail [email protected]. Proceeds from the Brooklyn Artists Ball will support the Museum’s exhibition, education, and outreach programs.

Skylar Fein Exhibit at the Brooklyn Museum

A recent work by Skylar Fein titled Black Lincoln for Dooky Chase will be on view at the Brooklyn Museum through August 2011 as the centerpiece of an installation including related works from the permanent collection. In Fein’s 2010 work he overlays a silhouette portrait of Abraham Lincoln on a panel created to resemble an old wall menu from Dooky Chase, a well-known New Orleans Creole and soul food restaurant.

Painted in acrylic on plaster and wood, Fein’s portrait will be displayed alongside such works as an 1871 marble bas-relief profile of Lincoln, early nineteenth-century cut-paper silhouettes by French artist August Edouart, and Kara Walker’s 2005 Cotton Hoards in Southern Swamp (from Harper’s Pictorial History of the Civil War).

Skylar Fein, a resident of New Orleans since 2005, believes that Lincoln’s opposition to slavery was shaped by a trip that he took as a teenager to New Orleans, which was then the center of the slave trade. Fein’s use of the silhouette taps into a long visual tradition, examples of which are included in the installation.

The silhouette was popularized in eighteenth-century Europe and soon caught on in the United States. Figures and profile portrait heads were cut from black card and set against a white ground or, in some instances, painted on glass. Evocative of the antebellum period and offering a graphic contrast of black and white the silhouette has inspired explorations of racial issues by contemporary artists such as Fein and Kara Walker.

A native of New York, Skylar Fein (born 1968) was a participant in Prospect.1 New Orleans, the 2008 biennial curated by Dan Cameron. His Remember the Upstair Lounge, a multimedia installation about a disastrous 1973 New Orleans fire at a gay bar that killed thirty-two and injured dozens, received broad critical acclaim. His work has been the subject of solo exhibitions, including the 2009 exhibition Skylar Fein: Youth Manifesto at New Orleans Museum of Art, and is represented in public and private collections.

Image: Skylar Fein (American, born 1968). Black Lincoln for Dooky Chase, 2010.

Brooklyn Museum Celebrates Rockwell Exhibit

The Brooklyn Museum’s Target First Saturday attracts thousands of visitors to free programs of art and entertainment each month. The April 2 event is a celebration of the different techniques artists employ to create a final product, as showcased in the special exhibition Norman Rockwell: Behind the Camera.

Throughout the evening, a cash bar will offer beer and wine, and the Museum Cafe will serve a wide variety of sandwiches, salads, and beverages. The Museum Shop will remain open until 11 p.m.

Some First Saturday programs have limited space available and are ticketed on a first-come, first-served basis. Programs are subject to change without notice. Museum admission is free after 5 p.m. Museum galleries are open until 11 p.m. Parking is a flat rate of $4 from 5 to 11 p.m.

Highlights include:

5-7 p.m. Music
The Fat Cat Jazz Club presents the Afro-Latin Jazz Alliance and the New York City All-Star Youth Big Band.

6 p.m. Film
Wuthering Heights (Peter Kosminsky, 1992, 105 min., PG). Juliette Binoche stars in this adaptation of Emily Bronte’s classic novel, the inspiration for the exhibition Sam Taylor-Wood: &#8220Ghosts.&#8221 Free tickets available at the Visitor Center at 5 p.m.

6:30 p.m. Performance
Beat boxer Kenny Muhammad (pictured) teams up with the Cocoro Strings for a new, percussive twist on classical music. Free tickets available at the Visitor Center at 5 p.m.

6:30-8:30 p.m. Hands-On Art
Sketch a charcoal portrait from live models as they emulate poses found in Rockwell’s illustrations. Free timed tickets available at the Visitor Center at 5:30 p.m.

7 p.m. Curator Talk
Catherine Morris on Lorna Simpson: Gathered. Free tickets available at the Visitor Center at 5 p.m.

8-10 p.m. Dance Party
DJ duo AndrewAndrew use their iPads to spin a zigzag history of pop.

9 p.m. Young Voices Talk
Student Guides on Norman Rockwell: Behind the Camera.

9-10 p.m. Performance
The Upright Citizens Brigade presents a series of improvisational skits based on visitors’ suggestions.

10-11 p.m. Late Night in the Galleries
All galleries open.

Photo: Kenny Muhammad. Photo Courtesy of the Artist.

Coverage of 1911 Triangle Factory Fire

The New York Times City Blog has been running a series of posts commemorating the Triangle Shirtwaist Factory Fire, which happened 100 years ago today on March 25, 1911.

There are links to the posts below, but first, here’s a brief description of what happened from Wikipedia: &#8220[The Triangle Fire] was the deadliest industrial disaster in the history of the city of New York and resulted in the fourth highest loss of life from an industrial accident in U.S. history. The fire caused the deaths of 146 garment workers, who either died from the fire or jumped to their deaths. Most of the victims were recent immigrant Jewish and Italian women aged sixteen to twenty-three.&#8221

&#8220Many of the workers could not escape the burning building because the managers had locked the doors to the stairwells and exits. People jumped from the eighth, ninth, and tenth floors. The fire led to legislation requiring improved factory safety standards and helped spur the growth of the International Ladies’ Garment Workers’ Union, which fought for better working conditions for sweatshop workers.&#8221

Here is a round-up of the City Room’s outstanding coverage:

Liberating Clothing Made in Confinement

A Half Hour of Horror

A Frontier in Photojournalism

Editorial Cartoons

One Woman Who Changed the Rules

New Leaders Emerge

Labor Laws and Unions in the Fire’s Wake

In a Tragedy, a Mission to Remember

Garment Work in New York 100 Years After the Triangle Fire

The Building Survives

Remembering the Triangle Fire, 100 Years Later

Remembering Triangle Fire’s Jewish Victims

Clinging to Memories

In Search of Today’s Sweatshops

Major Hudson River School Exhibition Opens

Questroyal Fine Art in New York City has announced the beginning of its eleventh annual Hudson River School exhibition, An Untamed Nation. The show, which opened to the public March 10, features examples by America’s most beloved landscape artists of the nineteenth-century. Highlights include a sublime landscape by the 19th-century forefather of American art, Thomas Doughty, a marine masterpiece by Luminist painter Francis Augustus Silva, a vibrant Hudson River scene by Jasper Francis Cropsey, and a dramatic composition by George Inness.

Questroyal owner Louis M. Salerno said of the paintings: “After months of searching, I am happy to say that I have gathered a unique and high-quality group of paintings for this year’s exhibition. I have specialized in finding and offering Hudson River School works for over two decades now and have never displayed such a distinguished collection of nineteenth-century art as what we have for this year’s show. We have created one of our strongest Hudson River School catalogues to accompany the exhibition with thirty-two illustrations, but plan to display well over seventy-five works.”

An Untamed Nation will be on display until April2,2011. Questroyal is willing to offer a complimentary exhibition catalogue to any interested parties. Please contact the gallery via email ([email protected]) or phone (212-744-3586) to request your copy.

Admission to the exhibition is free of charge. The gallery is located at 903 Park Avenue (at 79th Street), Suite 3A & B and is open Monday–Friday from 10–6 PM and Saturday, 10–5PM.

Visit their website for more information.